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Performance Metamorphoses

Objectives

To analyze the metamorphoses present in the concepts and practices of the performing arts from a long-term historical basis, giving special emphasis to the works and artistic processes that can better explain the transformations and crossroads of modern art. The relationship between art and science will be studied so as to explain concepts such as the laboratory, experimental or quasi-artistic types, etc.; art and travel, in order to explain the perspective of ethnographic research or contamination or fusion, particularly by addressing interculturalism; art and life, in order to discuss transgressions of the artistic canons, specifically the artistic practices involving an "excess" of spectacle, or, conversely, anti-spectacle. This approach aims to provide students with conceptual and theoretical tools that allow them to discuss the contemporary performing arts with underlying historical context.

General characterization

Code

722011097

Credits

10.0

Responsible teacher

Cláudia Maria Guerra Madeira

Hours

Weekly - 3

Total - 280

Teaching language

Portuguese

Prerequisites

N/A

Bibliography

  • GOLBERG, Roselee, A Arte da Performance – Do Futurismo ao Presente, Lisboa, Orfeu Negro, 2007.
  • JENKS, Chris, Transgressions, London, Routledge, 2003.
  • JIMINEZ, Marc (org.), Art et Mutations: Les Nouvelles Relations Esthétiques, Paris, Klinscksieck, 2004.
  • LISTA, Marcela (2006), L'Oeuvre D'art Totale à la Naissance des Avant-gardes, Paris, CTHS, INHA.
  • MADEIRA, Cláudia (2008), O Hibridismo nas Artes Performativas em Portugal, Tese de Doutoramento, Lisboa, ICS.
  • JONES, Amelia & Heathfield, Adrian (2012) Perform, Repeat, Record - Live art in History, UK, USA,Intellect, The University of Chigaco Press.
  • REMSHARDT, Ralf E. (2004), Staging the Savage God – The Grotesque in Performance, USA, Southern Illinois University Press.
  • ZOLBERG, Vera, CHERBO, Joni Maya (orgs.) (1997), Outsider Art – Contesting Boundaries in Contemporary Culture, United Kingdom, Cambridge University Press.
  • GIANNACHI, Gabriella; et all., (2012) Archaeologies of Presence, USA and Canadá, Routledge.

Teaching method

Both reading of texts and audiovisual equipment will support the teacher´s theoretical presentations, in order to promote critical discussion in the classroom. Study visits, about which students will produce written reports, will enhance knowledge and the training of judgment and criticism skills. Students must obligatorily do oral presentations (including the preparation of audiovisual material) which will enrich the seminar with the introduction of different cases and perspectives on various performing issues.
In addition to these elements of continuous evaluation that are worth 30% of the final grade, students will do critical research about a topic, an author or work, which will also be presented orally (70%).

Evaluation method

Continuous Assessment - Critical research about a topic, an author or work, which will also be presented orally(70%), Oral presentations (including the preparation of audiovisual material) (30%)

Subject matter

I. Cycles in the scenic worlds. Long term periodic repetitions throughout history:
Cycles versus ruptures (Latour, Stross, Eagleton, Hannerz, Eco);
Hybridism as the dominant paradigm of art.
II. Evolution of metamorphoses and crossroads in the performing arts From oral poetry to the carnival theatre; From romantic manifests to the performative modernism; from performance to
cyberperformance.
III. Analysis of plays:
The Tempest - Shakespeare; Ubu Roi - Alfred Jarry; Rhinoceros - Ionesco; Antigone - Sophacles; Faust - Goethe;
Revolution in Marat-Sade - Peter Weiss and Peter Brook.
IV. Presentation and discussion of the themes of the students' projects